Whipsaw (1935)

A man (Spencer Tracy) and woman (Myrna Loy) are on the lam from the law. Pursued by both police and a rival gang of jewel thieves, they go from city to city in an attempt to lose their pursuers. In actuality, he's a federal agent posing as a crook in the hopes that the woman will lead him to the criminal mastermind she's working for. Directed by Sam Wood (OUR TOWN), this potboiler shows the power of Star power because Tracy and Loy are the only reasons to watch this crime drama. As if sensing the script was unoriginal, director Sam Wood keeps his two lead actors center stage as he whisks the plot forward hoping the audience won't have the time (or inclination) to notice how wan the screenplay is. It ain't much but it's a amiable diversion. With Harvey Stephens and John Qualen.

See You In The Morning (1989)

After his first marriage breaks up, a Manhattan psychiatrist (Jeff Bridges) remarries a widow (Alice Krige) with two kids. But he can't quite break off his vulnerability toward his first wife (Farrah Fawcett) who has also remarried. Written and directed by Alan J. Pakula (KLUTE), this is a contrived and miscalculated romantic drama about second marriage. The characters don't speak like real people, they speak what sounds like a writer's lines. Tennessee Williams doesn't write realistic dialogue either but he's a poet whose language shimmers and soars. Pakula's dialogue is awkward ("the haunted moments of the night") rather than poetic. The whole enterprise just comes off as phony. The acting is good though the actors can't elevate the weak material. With Drew Barrymore, Frances Sternhagen (excellent), Theodore Bikel, Linda Lavin, Macaulay Culkin and Lukas Haas. 

The Sky's The Limit (1943)

Set during WWII, a pilot hero (Fred Astaire) with the Flying Tigers squad has an eight day furlough. He dons civilian clothes and meets a magazine photographer (Joan Leslie). He sets out to woo her without revealing his military role. Directed by Edward H. Griffith (NEXT TIME WE LOVE), this is a candidate for Astaire's worst movie musical. Following the termination of the Astaire and Rogers partnership in 1939, Astaire tried out several partners from Paulette Goddard to Marjorie Reynolds but with the exception of the two movies he did with Rita Hayworth (which were wonderful), he didn't have much success. Here his partner is Joan Leslie. As a dancer, she's not bad at all but she and Astaire have no chemistry together. Worst of all, Astaire's character is what we today would call a stalker. He forces his attention on Joan Leslie but we're supposed to find it "cute" rather than creepy. The songs are by Harold Arlen and Johnny Mercer which with one exception isn't among their best work. The exception is the terrific One For My Baby (And One More For The Road) but that isn't performed until the film's last ten minutes. But wartime audiences liked it enough to put it in RKO's profit column. With Robert Ryan,  Robert Benchley, Eric Blore and Marjorie Gateson. 

The Impossible Years (1968)

A professor of psychology (David Niven) is an expert on the problems of the adolescent except in his own household where he must deal with a rebellious teenage daughter (Cristina Ferrrare). Based on the Broadway play by Bob Fisher and Arthur Marx and directed by Michael Gordon (PILLOW TALK). Suddenly in the 1960s, there were a rash of generation gap comedies as fathers coped with their teen daughter's budding sexuality. There was TAKE HER SHE'S MINE as James Stewart fretted over daughter Sandra Dee, I'LL TAKE SWEDEN with Bob Hope agonizing over daughter Tuesday Weld and here it's David Niven dealing with daughter Cristina Ferrare. They're products of their time and none of them are very good but this entry is particularly trite. At least the other two had appealing actresses (Dee and Weld) as the daughters but here the untalented Cristina Ferrare is a cipher. It's particularly egregious to see the talented Lola Albright wasted in the mother role. The movie ends with a high speed chase, clearly a sign of desperation. But audiences lapped stuff like this up. The Broadway play ran for almost two years and the movie was a hit for MGM. With Chad Everett, Ozzie Nelson, Darleen Carr, Michael McGreevey and Norma Varden.

Hot Cargo (1956)

Set in Hong Kong, a trigger happy cop (Rory Calhoun) gone bad and an ex-chorus girl (Yvonne De Carlo) are engaged in a torrid affair. They attempt to coerce her husband (Alan Reed) into smuggling contraband. When he refuses, she kills him but she soon has other problems ..... can she trust her lover? Directed by Tay Garnett, who is perhaps best known for the 1946 version of THE POSTMAN ALWAYS RINGS TWICE. Whereas the homicidal lovers in that film were somewhat sympathetic and the doomed husband a sweetheart, the trio here are a nasty piece of goods. The victim beats his wife so we can't feel much sympathy for him. Originally filmed for the SCREEN DIRECTORS PLAYHOUSE, this is a quick and efficient noir-ish teleplay with Calhoun and De Carlo playing the brutish cop and the femme fatale effectively. With June Vincent and Peter Brocco.

Cheaper By The Dozen (1950)

Set in the 1920s, an efficiency expert (Clifton Webb) and his wife (Myrna Loy) apply his work standards to raising their children ..... all twelve of them! Based on the autobiographical book by Frank Gilbreth Jr. and Ernestine Gilbreth Carey and directed by Walter Lang (THE KING AND I). This popular wholesome family comedy could have just as well come from Disney as 20th Century Fox as it plays out like those 1960s Disney family movies with Fred MacMurray as the dad. By 21st century standards, Webb's character is ultra conservative, perhaps even reactionary. There's even an unnecessary dig at Planned Parenthood. But the film is amiable and Webb's acerbic delivery assures us that the movie won't slip into treacle. The movie was a big hit and spawned a sequel BELLES ON THEIR TOES two years later. With Jeanne Crain, Barbara Bates, Mildred Natwick, Sara Allgood, Edgar Buchanan, Betty Lynn and Evelyn Varden.

The Last Duel (2021)

Set in 14th century France, the wife (Jodie Comer) of a knight (Matt Damon) accuses his friend (Adam Driver) of rape. In order to prove his wife's claim, the knight and his former friend must fight to the death with the victor believed to be determined by God. Based on the non fiction book THE LAST DUEL: A TRUE STORY OF CRIME, SCANDAL AND TRIAL BY COMBAT IN MEDIEVAL FRANCE by Eric Jager and directed by Ridley Scott (ALIEN). This is a provocative and fascinating look at the precarious position of women in an unenlightened patriarchal society where wives were merely the chattel of their husbands and fathers. As the rape victim, the woman cannot ask for justice, it is the husband who must ask for justice as if the crime were perpetrated against him since the wife is his "property". The film gives us a RASHOMON like view as we see the story from the point of the husband, the rapist and finally the wife. The screenplay is by Nicole Holofcener (FRIENDS WITH MONEY), Matt Damon and Ben Affleck. The screenplay is just fine but alas, instead of just writing the screenplay, Damon and Affleck have major roles in the film and I found that problematic. While Driver and Comer are excellent, Affleck as Driver's devious ally gives an egregiously anachronistic performance and Damon is about as believable as a 14th century French knight as John Wayne's Genghis Khan in THE CONQUEROR. If you can force yourself to overcome that, you'll be rewarded with a fascinating piece of French history. Sadly, the film was a huge flop at the box office! With Harriet Walter, Alex Lawther, Marton Csokas, Zelijko Ivanek, Nathaniel Parker and Tallulah Haddon.

Crimes Of The Heart (1986)

Set in Mississippi, three sisters reunite during a family crisis. There's the spinster Lenny (Diane Keaton), Meg (Jessica Lange) recovering from a nervous breakdown and Babe (Sissy Spacek in an Oscar nominated performance) who has shot her husband (Beeson Carroll) in the stomach. Based on the Pulitzer Prize winning play by Beth Henley (who adapted her play for the screen) and directed by Bruce Beresford (DRIVING MISS DAISY). Despite the Pulitzer win, I don't think Henley's play is a particularly notable play. But the dialogue is often sharp and overall, I found it a grand entertainment which provides three marvelous roles for its lead actresses and it balances the pathos with a quirky dark humor and that's enough to carry it through. The lovely underscore is by Georges Delerue. With Sam Shepard, Tess Harper (also Oscar nominated) whose character is too broadly written, Hurd Hatfield and David Carpenter.

Street Of Women (1932)

A fashion designer (Kay Francis) is in love with a married man (Alan Dinehart) whose wife (Marjorie Gateson) won't give him a divorce. Complications ensue when her younger brother (Allen Vincent) falls in love with her lover's daughter (Gloria Stuart). Based on the novel by Polan Banks and directed by Archie Mayo (THE PETRIFIED FOREST). Boy, did Kay Francis suffer ..... and suffer and suffer during the 1930s at the height of her career. Since this is a pre code film, the adultery is overlooked and it's the chilly and impervious wife (Gates) who's the villainess of the piece. The attitude of the times are still omnipresent as the both the brother (Dinehart) and daughter (Stuart) disapprove of the affair and don't see the lovers' viewpoint. It's a creaky affair but mercifully brief (it runs about an hour) but Kay Francis fans won't be disappointed. With Roland Young and Louise Beavers.

The Doughgirls (1944)

Set during WWII in Washington D.C. where the housing shortage is a major problem. Two newlyweds (Jane Wyman, Jack Carson) find their honeymoon suite occupied by another pair of newlyweds (Ann Sheridan, John Ridgely). Then a bride to be (Alexis Smith) needs a place to stay until she's married and they are soon joined by a Russian soldier (Eve Arden). Misunderstandings and hilarity ensue. Based on the hit Broadway play by Joseph Fields and directed by James V. Kern (THE SECOND WOMAN). Though the film has been sanitized from its Broadway roots (any suggestion of sex was cut out), it remains a decent screwball comedy with fine comedic work by a quartet of actresses. The film wisely doesn't attempt to open it up (too much) and the bulk of the action takes place in a hotel room. The pacing is rapid and the quips spit out like a machine gun. With Charles Ruggles, Craig Stevens, Irene Manning, Alan Mowbray and Joe DeRita.

Back To The Beach (1987)

A stressed out car salesman (Frankie Avalon) and his peanut butter obsessed wife (Annette Funicello) decide to drop in on their daughter (Lori Loughlin), who lives on the beach in L.A., on their way from Ohio to Hawaii. Problems arise when they realize she's living with her boyfriend (Tommy Hinkley) in an unmarried state. Directed by Lyndall Hobbs, this delightful musical comedy is an affectionate parody on those popular 1960s BEACH PARTY movies which starred Frankie and Annette. Even if you weren't a fan of those BEACH PARTY movies, you might find this slice of satire hard to resist. In on the joke, Avalon and Funicello seem to be having a great time spoofing their salad days. Sadly, the beginnings of Funicello's multiple sclerosis which would end her career were already evident. The reviews were good but it didn't do well at the box office. Still, the film has developed a cult following and its popularity has increased in the ensuing years. The large cast includes Connie Stevens, Don Adams, Bob Denver, Edd Byrnes, Pee Wee Herman, Barbara Billingsley, Tony Dow and Alan Hale Jr.

Night Of Dark Shadows (1971)

A young newlywed couple (David Selby, Kate Jackson) arrive at his ancestral estate. But the mansion has a dark history that begins to possess the husband. So much so that it puts the life of his bride in mortal danger. Directed by Dan Curtis (THE WINDS OF WAR), this is a sequel to the 1970 HOUSE OF DARK SHADOWS which in turn was based on the TV gothic soap opera which ran for five years (1966-1971). This entry drops the vampire storyline used by the series and the first movie. It also drops two of its major actors, Joan Bennett (who played the family matriarch) and Jonathan Frid (who played the vampire). Actors returning are playing different parts including Grayson Hall, John Karlen and Thayer David. The film wasn't as successful as HOUSE OF DARK SHADOWS and it's easy to see why. The vampire plotline has been jettisoned and what we're given is a REBECCA retread with supernatural elements. It's a drab film that often borders on "camp" with nondescript performances (with Selby particularly bad) except for Grayson Hall, who brings a nice Mrs. Danvers quality to her character. With Nancy Barrett, Lara Parker, Diana Millay and James Storm.

Jeannette: L'enfance De Jeanne D'arc (aka Jeannette: The Childhood Of Joan Of Arc) (2017)

Set in 1425 France in the midst of the Hundred Years' War, the young 8 year old Jeannette (Lise Leplat Prudhomme) tends her sheep in a small village. Unable to bear the suffering caused by the invasion of the English in France, she doesn't understand how God doesn't save France. As the years pass, the young shepherdess (now played by Jeanne Voisin) realizes it is she who must drive the English from France. Based on the 1910 play THE MYSTERY OF THE CHARITY OF JOAN OF ARC by Charles Peguy and directed by Bruno Dumont (FRANCE). On paper, the idea of a rock musical incorporating punk, heavy metal and rap about the political emergence of Joan Of Arc sounds intriguing. But I found its execution problematic. A didactic musical is never much fun although I'm sure Dumont never intended his musical to be an entertainment, much less traditional in its execution. But the music is monotonous (the beat never varies) while the "lyrics" preach its ideas relentlessly. It's the kind of movie where you can get up to go to the bathroom and when you return, they're still harping on the same subject. I didn't dislike it, it's too unique and audacious to dismiss and the cinematography of Guillaume Deffontaines is superb. An acquaintance called it a "hair banging musical" and that about sums it up. I can appreciate what it's doing but I can't say I enjoyed the experience. With Aline Charles, Elise Charles and Nicolas Leclaire.  

M (1931)

Set in Berlin, a pedophile serial killer (Peter Lorre) causes hysteria among the populace while the police seem unable to find the murderer. As the police target the criminal underworld with constant raids and harassment in an attempt to find the murderer, the crime bosses decide to take the matter into their own hands and find the child killer so that their own world can return to normal. Directed by Fritz Lang (METROPOLIS) in his first sound film, this is considered by many to be his masterpiece. The intensity level as the movie cuts back and forth between the criminal underworld, the police procedural and the serial killer remains a textbook example of editing and suspense. Wisely, Lang spares us any graphic images of the child killings thus leaving the horror of the act to our own imagination. As the murderer, Peter Lorre gives a stunning performance. Alas, in his Hollywood career, he never had a role as good as this or gave as good a performance. The film has social commentary but Lang is smart enough to know that lecturing the audience makes for a dull film and by making a first rate thriller, the social commentary is more effective. With Otto Wernicke, Gusaf Grundgens and Inge Landgut.

Nevada (1944)

A cowboy (Robert Mitchum) is accused of the killing and robbery of a miner (Larry Wheat). But two women, a dance hall hostess (Anne Jeffreys) and the miner's daughter (Nancy Gates) believe in his innocence. They're also both in love with him. Based on the novel by Zane Grey and directed by Edward Killy (SEVEN KEYS TO BALDPATE). Previously filmed in 1927 with Gary Cooper in Mitchum's role, this was Robert Mitchum's first leading man part (the credits read "introducing Bob Mitchum") after some 24 movies in supporting roles. It's a "B" western but an unassuming entertainment and fans of westerns could do worse. Mitchum already exhibiting his star power and screen presence that in three years would make him one of Hollywood's most popular leading men. Given the stereotypes toward women of the era, it's no mystery as to who Mitchum ends up with at the end of the movie. With Guinn Williams, Craig Reynolds and Richard Martin.

Everything I Have Is Yours (1952)

On the eve of their Broadway debut, the wife (Marge Champion) in a dancing duo discovers she's pregnant. Her understudy (Monica Lewis) replaces her but when she shows interest in resuming her career after the birth of their baby, the husband (Gower Champion) insists she stay home and play wife and mother. Directed by Robert Z. Leonard (IN THE GOOD OLD SUMMERTIME). MGM was the king of musicals during the 1940s and 1950s but not everything they did was gold. This dull and dreary musical is a case in point. Marge and Gower Champion had done well in their first two MGM musicals, SHOW BOAT and LOVELY TO LOOK AT but they were A productions with good songs (the songs here are a mediocre lot for the most part) and perhaps most important, they had supporting roles. This shows that they weren't interesting or charismatic enough to carry a movie on their own. Dancing they were just dandy but when the dancing stopped ..... the movie goes limp. It wasn't just the dancing that made Fred Astaire and Ginger Rogers stars, they had personality and screen presence. With Dennis O'Keefe, Dean Miller and Elaine Stewart.

Charlie Chan On Broadway (1937)

A Manhattan night club singer (Louise Henry) is a passenger on a transatlantic liner from Germany to New York. When her cabin is broken into, she hides a mysterious package in the trunk of the famous detective Charlie Chan (Warner Oland) for safekeeping. But before she can retrieve the package, she is murdered. Based on the Chan character created by Earl Derr Biggers and directed by Eugene Forde (SLEEPERS WEST). This is one of the better entries in the Charlie Chan franchise. The murder case is cleverly constructed and while there is no shortage of murder suspects, when the killer is revealed, it's an unexpected surprise. With Leon Ames, Donald Woods, Keye Luke, Joan Woodbury, Douglas Fowley, Marc Lawrence, Toshia Mori and Harold Huber.

The Heat Of Passion (1961)

After being dumped by her lover (Ed Nelson), a woman (Dorothy Malone) marries an older man (John Dehner) with a heart condition. But then the lover shows up with a plan to murder the husband so they can inherit his money. Directed by Ron Winston (AMBUSH BAY), this was originally shot for the television series CHECKMATE. What might have been an interesting noir-ish lovers murdering the husband for his money tale is served up as a standard run of the mill morality yarn. Set in the bright sunlight of mountain scenery rather than a dark and shadowy urban landscape doesn't help set the mood either. The score is by a young John Williams (JAWS). With Doug McClure, Sebastian Cabot, Anthony George and Steve Gravers.

Μήλα (aka Apples) (2020)

Amid a worldwide pandemic that causes sudden amnesia, a middle aged man (Aris Servetalis) finds himself enrolled in a recovery program designed to help unclaimed patients build new identities. Directed by Christos Nikou in a feature film directorial debut, this was filmed before the Covid pandemic which makes it all the more potent in its examination of a society cut off from each other. This alienation of sorts began long before the pandemic in our dependence on technology rather than our own mind and memories. Who remembers phone numbers anymore when it's there on our iphones, why remember directions when we can google it, why talk to people face to face when we can text them, why write a letter when you can send an e-mail? As a society, we're rapidly beginning to exist in a vaccum. Nikou's remarkable film examines memory, the loss of it and the need to be remembered (if we're not remembered, did we exist?). A beautiful film released in Greece in 2020 but not in the U.S. until 2022. With Sofia Georgovassili and Anna Kalatzidou. 

The Red Beret (aka Paratrooper) (1953)

Set in 1940 England, an American (Alan Ladd) volunteers for the British Parachute Regiment training facility as a paratrooper. He guards a secret about his military past and reveals it only to a pretty parachute rigger (Susan Stephen). Based on the book by Hilary Saint George Saunders and directed by Terence Young (FROM RUSSIA WITH LOVE). An incredibly dull war movie that you can pay only half attention to and still not miss out on anything. Unhappy with the way his career was going in Hollywood, Ladd signed a three picture deal with a new British film company Warwick Films and this was the first out of the gate. Ladd's character has a huge chip on his shoulder and it's extremely hard to warm up to him. Unless you're a hard line Alan Ladd fan, you can safely pass on it. Retitled PARATROOPER for its U.S. release. With Leo Genn, Stanley Baker, Harry Andrews and Anton Diffring.

Tickle Me (1965)

Needing a job until the rodeo season starts, a cowboy (Elvis Presley) takes a job at an exclusive dude ranch and spa where wealthy wives, mistresses, models and actresses pay a hefty price to starve and exercise. He becomes very popular ..... real fast. Directed by Norman Taurog (GIRL CRAZY), this is your typical mid 1960s Elvis movie. Which means it has a barely there inane plot, lots of pretty girls and a barrel of tunes all sung by Elvis. All Elvis has to do is bring out his guitar and sing and all the women around him turn into go-go dancing nymphomaniacs (including Connie Gilchrist of all people)! It should be silly fun but it's just silly and it's padded out with a fantasy western segment with Elvis as a milk chugging gunfighter and a haunted hotel on a dark and stormy night sequence that goes on way too long. Curiously there are no new songs in the film, just recycled Presley album tracks. Still, Elvis fans lapped it up and the film was a hit (and saved Allied Artists from bankruptcy). With Jocelyn Lane as the love interest, Julie Adams, Merry Anders, Allison Hayes, Barbara Werle, Jack Mullaney, Bill Williams and Edward Faulkner. 

Revolutionary Road (2008)

Set in the 1950s, a young married couple (Leonardo DiCaprio, Kate Winslet) move to the Connecticut suburbs after the birth of their two children. But their marriage begins to deteriorate when the wife wants to abandon suburbia and pursue the dreams of their youth while the husband has been seduced by the comfort and safety of the bourgeois lifestyle. Based on the acclaimed novel by Richard Yates and directed by Sam Mendes (SKYFALL). A blistering examination of how stifling and repressive the conformity of the 1950s could be and often was. Published in 1961, Yates' book immediately received movie interest but it was a tough nut to crack in adapting for the screen and took some 45 years before it reached the screen. Winslet won the 2008 best actress Oscar for THE READER, right actress, wrong performance. As good as she was in THE READER, she does amazing work here. Ready to jump out of her skin, Winslet gives us a sense of how frustrating the 50s were to women trying to break from the conventions of a provincial existence. With Kathy Bates, Michael Shannon, Kathryn Hahn, Dave Harbour, Zoe Kazan and Jay O. Sanders.

China Sky (1945)

Set in China during WWII, a small hospital is under constant bombing by the Japanese. When the American doctor (Randolph Scott) in charge of the hospital returns from a fundraising trip in the U.S., he brings with him a wife (Ellen Drew) who is totally unprepared for the rigors of war and jealous of the woman doctor (Ruth Warrick) who assists her husband. Based on the novel by Pearl S. Buck (THE GOOD EARTH) and directed by Ray Enright (THE SPOILERS). Intended as a tribute to the hardships undergone by the Chinese while under Japanese invasion during WWII, the intent takes a backseat to a cliched marital triangle of a wife (Drew) who resents her husband's (Scott) devotion to his work and the attractive doctor (Warrick) at his side. The production values are on the minimalist side. There's also the unintended racism of having the "good" Chinese played by Caucasian actors (Anthony Quinn, Carol Thurston) and the "bad" Asians played by real Asian actors (Philip Ahn, Richard Loo). It's regretful that it didn't turn out as good as it could have been with a better script, stronger direction and finer production values. As the doctor, Scott seems out of place and an actor with a stronger range might have helped. The score by Leigh Harline is good. With Benson Fong and Ducky Louie.

Another Language (1933)

After eloping with her new husband (Robert Montgomery), a free spirited artist (Helen Hayes) discovers her new husband is a mama's boy. His manipulative mother (Louise Closser Hale) is determined to keep her apron strings tied to her son. Based on the play by Rose Franken (best known for the play CLAUDIA) and directed by Edward H. Griffith (THE SKY'S THE LIMIT). I enjoyed this pre code drama which seemed headed toward an Americanized version of Ibsen's A DOLL'S HOUSE but chickens out in the last five minutes when it gives us this phony "happy" ending. I wish it had the guts to stick with it and end where it was going rather than take the homogenized safe road. One can't help but wonder why Hayes insists on staying with the selfish and cloddish Montgomery instead of running off with his sensitive nephew (John Beal), who loves her. I suppose it was obliged by the sanctioned morality codes of the era, the sanctity of home and marriage etc. With Henry Travers, Margaret Hamilton and Willard Robertson.

Hannah And Her Sisters (1986)

The eldest daughter (Mia Farrow) of show business parents (Lloyd Nolan, Maureen O'Sullivan) is a devoted wife, loving mother and successful actress. She's the stable backbone of her family but when her two neurotic sisters (Barbara Hershey, Dianne Wiest in an Oscar winning performance) each reach an emotional crisis in their lives, she begins to see she's as lost as anyone else. Written and directed by Woody Allen, this is one of his very best films. Episodic in nature and covering two years with Thanksgiving bookends, the movie is another one of Allen's Bergman homages (in this case FANNY AND ALEXANDER). Once again, Allen artfully balances humor with deeper philosophical questions (i.e. Woody Allen's character's search for proof of God's existence). The acting is flawless, even Allen manages to bring a bit more depth to his usual persona. With Michael Caine (in an Oscar winning performance), Max Von Sydow, Carrie Fisher, Sam Waterston, Tony Roberts, John Turturro, Daniel Stern, Joanna Gleason, Richard Jenkins, Julie Kavner and Tony Roberts.

Mexican Hayride (1947)

A swindler (Bud Abbott) and his dupe (Lou Costello) are in Mexico evading the U.S. authorities. When the con man begins selling stock in a non existent silver mine in the dupe's name, the authorities catch up with them and they go on the lam. Based on the Cole Porter musical and directed by Charles Barton (ABBOTT & COSTELLO MEET FRANKENSTEIN). Another of those perplexing decisions when Hollywood buys the film rights to a hit Broadway musical and then proceeds to toss all the songs out and uses just the book. The book was thin on Broadway but at least it had those Cole Porter songs (though the show didn't have any hit songs). Here the undernourished plot is turned into a vehicle for Abbott and Costello. As such, it's silly fun though if you're not a fan of the comic team (I am!), you may find it worthless. There are some genuinely funny gags and at a brief one hour and 17 minutes, it doesn't wear out its welcome. With Virginia Grey (in the role June Havoc played on Broadway), John Hubbard, Fritz Feld and Luba Malina.

Seconds (1966)

Desperate to escape his dreary life, an aging banker (John Randolph) succumbs to a mysterious organization's offer of a new identity and a fresh start. Surgically transformed into a handsome young man (Rock Hudson), he begins a hedonistic existence in the Malibu colony. But it isn't long before he questions the wisdom of what he did. Based on the novel by David Ely and directed by John Frankenheimer (MANCHURIAN CANDIDATE). While the movie plays out like an extended episode of TWILIGHT ZONE, this psychological horror film conjures up an intense paranoia and sense of dread as it follows a dissatisfied middle class man's attempt to recapture his dreams, only to find out that he didn't have a dream after all. The movie requires a suspension of disbelief in that the entire process would seem extremely cost prohibitive to a middle class banker not to mention the money needed for his expensive post surgery lifestyle. That aside, it's an unsettling nightmare vision. The film was both a box office flop and gathered mediocre reviews but it has since blossomed into an admired cult film. Originally Frankenheimer wanted one actor to play both the old and young versions of the character but Hudson didn't feel comfortable playing the older version of himself. James Wong Howe's creative B&W cinematography was justly nominated for an Oscar (the film's only nomination). With Salome Jens, Murray Hamilton, Jeff Corey, Frances Reid, Will Geer, Elisabeth Fraser, Wesley Addy, Barbara Werle, Richard Anderson and Dody Heath.

秋決 (aka Execution In Autumn) (1972)

Set in the Han dynasty of China (206 BC-220 AD), a man (Ou Wei) from a wealthy family has been raised by his grandmother (Fu Pi Hui) who doted on him and never disciplined him. The end result is that he is to be executed for the murder of three people. His grandmother risks everything to save his life but must finally acknowledge that she created this selfish brute. Directed by Lee Hsing, a popular Taiwanese director not much known in the West and this is my first exposure to him. Movies about redemption can get icky but this one while often bordering on sentiment is very good. Ou Wei's redemption is not overnight, it's slow to come and when it does, it's believable as opposed to some deus ex machina that arrives to send us away feeling happy. Actions have consequences and true redemption includes acceptance of those consequences and the director understands that. Handsomely shot on a soundstage (including exteriors) by Lai Cheng Ying with some artful assistance by the lighting director Lee Ya Toung. The score by Saito Ichiro is too pushy. With the lovely Tang Pao Yun, Gu Hsian Ting and Han Su.

Show People (1928)

A young girl (Marion Davies) from Georgia comes to Hollywood with stars in her eyes and a big dream of breaking into the movies. Taken under the wing by a slapstick comic (William Haines), she soon becomes a popular star in comedies. But when she decides to switch to serious drama, it goes to her head and she deserts her old friends from her comedy days as vulgar and beneath her. Directed by King Vidor, this charming valentine to the era of silent comedies came the year after the debut of the first talkie, THE JAZZ SINGER. It's almost as if Vidor knew the golden era of silent comedy was over with the advent of talking pictures and he wanted to affectionately say goodbye. Davies' talent as a comedienne are on display here and she even gets to play herself as the real Davies when the character she is playing is unimpressed seeing her in person. Cameos from the some of the major silent stars of the day include Charlie Chaplin, John Gilbert, Douglas Fairbanks, William S. Hart, Norma Talmadge and even director King Vidor gets in the act playing himself. A must for fans of silent cinema. 

Experiment At New Life (1970)

A widow (Vera Miles) and her daughter (Sue Lyon) reside in a rural commune where the men outnumber the women by a considerable number. So when the commune leaders pass a law that the women of the community must become the wives to more than one man in order to keep the community growing, they attempt to leave the community only to be forcibly held against their will. Directed by Jeannot Szwarc (SOMEWHERE IN TIME), this feature length telefilm was originally shown as an episode of the TV series THE MEN FROM SHILOH. Although a western, it works equally well as an intense slice of suspense. The subject of forced polygamy is an unusual one and director Szwarc keeps squeezing the tension. The acting is good, especially Miles and Ralph Meeker makes for a frightening bad guy as the commune leader who turns the community's good intentions into a warped plan to get the woman he wants. With James Drury, Lyle Bettger, Chris Robinson and Michael McGreevey.

Nightmare Alley (2021)

Set in the 1940s, a rural carnival worker (Bradley Cooper) with a secretive past has higher ambitions. After learning all he can from carny people as well as using them for his own ends, he heads to the big city with a girl (Rooney Mara) from the carnival. While successful, he enters into an agreement with a psychiatrist (Cate Blanchett) that will bring both of them bigger game but he underestimates her. Based on the novel by William Lindsay Gresham (previously filmed in 1947) and directed by Guillermo Del Toro (THE SHAPE OF WATER). I liked the film very much but like many recent movies, if suffers from being inflated. It's forty minutes longer than the 1947 film. Though Del Toro's film was critically admired (it received 4 Oscar nominations including best picture), like the 1947 version it was a box office flop. I suppose part of it was the Covid pandemic but I suspect like 1947 audiences, the story is just too dark and downbeat for mainstream audiences. The acting is good, Dan Laustsen's lensing imparts mood and style and Tamara Deverell's period production design is impeccable. It's a strong example of neo-noir, I just wish Del Toro and his editor Cam McLauchlin hadn't been so stingy with the editing shears. With Toni Collette, Willem Dafoe, Mary Steenburgen, Richard Jenkins, David Strathairn and Ron Perlman.

Nóż W Wodzie (aka Knife In The Water) (1962)

A husband (Leon Niemczyk) and wife (Jolanta Umecka) are on their way to a marina where their sailboat is docked when they pick up a hitchhiker (Zygmunt Malanowicz). They invite him to go sailing with them and he accepts. Directed by Roman Polanski in his feature film directorial debut, the film received international acclaim and solidified Polanski's reputation as an exciting talent to watch. While I can admire aspects of the film, I found the circumstances that led to the hiker being invited aboard very contrived. Why would they invite this young stranger on board to spend the weekend with them? Kicks? It certainly wasn't out of the kindness of their hearts. The antagonism by the husband toward the hitchhiker is evident from the beginning. What I really loved about the movie was Jerzy Lipman's stunning B&W cinematography. Images that you could hang on a museum wall. Still, as far as Polanski's pre Hollywood films go, I much prefer CUL DE SAC or REPULSION but this is worth seeing because it's a great director in the early stages of his career.

Tension (1949)

A milquetoast pharmacist (Richard Basehart) is married to a duplicitous tramp (Audrey Totter). When she dumps him for a liquor salesman (Lloyd Gough), he tries to win her back without success. It is then that he plots a revenge that has far reaching consequences. Based on a story by John D. Klorer and directed by John Berry (HE RAN ALL THE WAY). This nifty little noir checks all the right boxes: a dupe (Basehart) led around by the nose by a femme fatale (Totter), a determined police detective (Barry Sullivan), shadowy B&W noir cinematography courtesy of Harry Stradling (MY FAIR LADY) and a nice little twist of fate at the end. It's a minor noir but it's a good example of a tight little B put out by the MGM dream factory. Basehart brings a suitable hangdog quality to his sap but the movie belongs to Totter's manipulative tough tart. The movie doesn't set out to be anything special but it's that very modesty that is a major part of its appeal. I suspect most noir buffs have already seen this but if you haven't, by all means check it out. With Cyd Charisse, William Conrad, Tom D'Andrea, Tito Renaldo, Virginia Brissac and Theresa Harris.

The Amazing Dr. Clitterhouse (1938)

A well known society doctor (Edward G. Robinson) is fascinated with criminal behavior. In order to do more research, he joins a gang of jewel thieves. But he finds that he has bitten off more than he can chew as blackmail and murder follow. Based on the play by Barre Lyndon and directed by Anatole Litvak (THE SNAKE PIT). This crime film is quite unique and I'm shocked that it got away with what it gets away with. This is not a pre code film yet a murderer is allowed to get away with what would seem to be a perfect crime! The film balances the darkness of the material with humor but the amorality of the central situation is never fully addressed. I'm also surprised that the sexual pun in the movie's title was allowed to slip by the censors. Robinson is very good playing the intellectual doctor and leaves the thug act to Humphrey Bogart as a gang member of the jewel thieves. With Claire Trevor, Donald Crisp, Allen Jenkins, Gale Page, Thurston Hall, Ward Bond and Maxie Rosenbloom.

This Property Is Condemned (1966)

Set during the Great Depression, a stranger (Robert Redford) comes to a small southern Mississippi town dependent on the railroad for its existence. He stays at a boarding house owned by a woman (Kate Reid in a strong performance) whose pretty daughter (Natalie Wood) is the main attraction. "Suggested" by the one act play by Tennessee Williams and directed by Sydney Pollack (OUT OF AFRICA). Williams' one act play is basically a monologue by the younger sister (played by Mary Badham of TO KILL A MOCKINGBIRD in the film) of the character Wood plays in the movie. The screenplay (Francis Ford Coppola was one of three credited writers) uses this as a framing device while the story proper is an invention of the screenwriters and nothing to do with Williams. It's a pity because the film could have used some of that Tennessee Williams poetry. The dialogue we get is pretty tepid. Natalie Wood is very good so it's a shame that it's wasted on inferior material. Ten years later, Wood would prove she could handle Tennessee Williams very well when she did CAT ON A HOT TIN ROOF with Laurence Olivier as Big Daddy. Worth seeing for Wood's performance and James Wong Howe's handsome cinematography. There's a terrible score by Kenyon Hopkins. With Charles Bronson, Robert Blake and Jon Provost.

Raising Arizona (1987)

A small time ex-con (Nicolas Cage) marries a police officer (Holly Hunter). He attempts to give up crime and lead a quiet married life but when they discover the wife can't conceive, they kidnap a baby. Written by the Coen Brothers and directed by Joel Coen (BLOOD SIMPLE). The follow up film to the Coen Brothers' acclaimed first feature BLOOD SIMPLE which was a dark film noir, this outrageous black comedy is audacious if nothing else. A comedy about the kidnapping of a baby? The film works because it's clearly a fantasy and not to be taken seriously (the Coens clearly don't) otherwise we'd be appalled at the reckless situations the baby is placed in. Cage and Hunter have a nice low keyed chemistry and don't overplay the comedic aspects of their roles. I wish I could say the same for John Goodman and William Forsythe as a couple of jailbirds. Dumb characters can be amusing for awhile but if they're not reined in and go on too long, they become more annoying than humorous. And the biker bounty hunter (Randall "Tex" Cobb) seems to have wandered in from another movie. He's ludicrous and damages the movie. It's a live action cartoon and if that works for you, there are laughs to be had. With Frances McDormand, Trey Wilson and Sam McMurray.

Rough Cut (1980)

An American millionaire (Burt Reynolds) living in London meets an attractive woman (Lesley Anne Down) at a party. They soon find they have something in common ..... they are both thieves. She's just a kleptomaniac but he's a professional. It isn't long before they both get involved in a heist of $30 million in uncut diamonds. Based on the novel TOUCH THE LION'S PAW by Derek Lambert and directed by Don Siegel (THE BEGUILED). What should have been a glamorous and sophisticated comedy heist caper fumbles. The behind the scenes machinations didn't help any. The original director Blake Edwards quit because he didn't like Larry Gelbart's (TOOTSIE) script. In order to make STARTING OVER, Reynolds had to give up script and director approval. Gelbart didn't like the finished film and rather than have his name on it, it carries a pseudonym of Francis Burns. Siegel and producer David Merrick didn't get along and Merrick fired him. Peter Hunt (ON HER MAJESTY'S SECRET SERVICE) was brought in to replace him. Three different endings were shot and David Niven (playing a Scotland Yard inspector) sued Merrick for back pay. Of course, it's what's on the screen that matters and one can see the skeleton of a Cary Grant-ish sophisticated romantic thriller (think CHARADE or TO CATCH A THIEF) and while the result is far from terrible, it remains a moderately entertaining wannabe. In the end, I think Siegel was the wrong kind of director for something like this. It needed a Stanley Donen or Blake Edwards. With Timothy West, Patrick Magee, Joss Ackland, Roland Culver and Cassandra Harris.

And Baby Makes Three (1949)

A book publisher (Robert Young) is distraught by the news that his ex-wife (Barbara Hale) is about to get remarried. However, when she faints going down the aisle, it leads to the discovery that she's pregnant with his child. This makes him more determined than ever to win her back. Directed by Henry Levin (WHERE THE BOYS ARE), this is the kind of sitcom material that would thrive on television in the following decade (1950s). Indeed, Young himself would find a thriving sitcom career in the 1950s with FATHER KNOWS BEST. Considering the movie's subject, what I found most amusing was the way the film goes out of its way to avoid the word pregnant and uses all kinds of euphemisms to describe Hale's condition. Even when Hale visits a shop specializing in maternity clothes, the word maternity is never used. It's called an anticipation shop. How precious! The film's attitude toward divorce, single parenting vs. co-parenting, step parenting are all mired in 1940s sensibilities which are dated. All that being said, portions of the film are (very) moderately amusing. With Billie Burke, Janis Carter, Robert Hutton, Melville Cooper and Theresa Harris.

Chain Lightning (1950)

A test pilot (Humphrey Bogart) is in the cockpit of an experimental jet that he is attempting to fly from Alaska to Washington D.C. The problem is the distance is beyond the jet's tested range. Based on the short story THESE MANY YEARS by Lester Cole and directed by Stuart Heisler (THE GLASS KEY). In the 1950s, Hollywood was fascinated by jet aviation and the subject provided the basis for many movies including STRATEGIC AIR COMMAND, JET PILOT, THE MCCONNELL STORY and even the British got into the act with David Lean's THE SOUND BARRIER. Sadly, this is a dreary entry in the aviation fascination. The story just isn't very interesting and Bogart (at the end of his Warners contract) can barely contain his disinterest. He probably realized that not only was the script lacking but the real stars of the movie were the jet aircraft. For those interested in aviation, the film might pass muster but for everyone else, it's a tedious turn. With Eleanor Parker providing the love interest (she would fare better with her next film, CAGED), Raymond Massey, Richard Whorf and Roy Roberts.

Le Chanteur Inconnu (aka The Unknown Singer) (1931)

A French traveling salesman (Jim Gerald) is in Russia when he discovers a Frenchman (Lucien Muratore) with a magnificent singing voice. But the man suffers from amnesia and has no memory beyond the last 10 years when he was picked up by a whaling ship. The salesman brings the singer to Paris where he becomes a sensation as the masked Unknown Singer. But a pretty reporter (Simone Simon) is assigned by her editor to investigate who the man really is. Co-written by Georges Henri Clouzot and directed by Viktor Tourjansky. This melodrama with songs (music by Rene Sylviano, lyrics by Serge Veber) is on the creaky side. The musical interludes pad out the hoary plot and the acting isn't especially notable though it's nice to see the fresh faced Simone Simon in an early ingenue role. Too bad MGM didn't obtain remake rights for Mario Lanza and rewritten with it with a better script, it might have been a good part for him. With Simone Cerdan and Jean Max. 

The Lost City (2022)

A romance novelist (Sandra Bullock) is kidnapped by a an eccentric billionaire (Daniel Radcliffe) who believes she holds the key to an ancient tomb with hidden treasure. A dimwitted male model (Channing Tatum) sets off to rescue her but unlike the heroes of her books, he's ill equipped to rescue her. Directed by the Nee Brothers (Aaron and Adam), this comedy adventure is a shameless ripoff of ROMANCING THE STONE but no where near as good. There are enough changes to the story to avoid a plagiarism suit but it's so obvious. There's a bit of a gender switch with Tatum being a bit of an airhead in need of rescue (at one point he says, "You mean I'm the damsel in distress?") and Bullock being the resourceful and practical one. It's all predictable and tiresome. Brad Pitt comes in as an ex-Navy Seal and brings some some amusing punch to the movie but alas, he's killed off very early in the movie and most of the fun goes with him. Fortunately, Bullock and Tatum are so likable that they make the movie (barely) watchable but they can't hide the ragged edges. With Da'Vine Joy Randolph, Oscar Nunez, Bowen Yang and Stephen Lang.

Sunday Bloody Sunday (1971)

A middle aged gay Jewish doctor (Peter Finch) and a divorced thirtysomething woman (Glenda Jackson) find themselves both romantically involved with a younger bisexual artist (Murray Head). But they both find themselves frustrated in their relationship because while they devote themselves completely to the young man, they only get half of his attention. Directed by John Schlesinger (DARLING), this provocative film examines the complexity and the messiness of love and how a life without it is no life at all. It was a courageous film for its day and the movie still carries an emotional power. If I have any complaint at all, I wish a stronger more charismatic actor than Murray Head had been cast as the young man. Yes, he's good looking but one can't help but wonder what it is about him that draws these two people (Finch, Jackson) so strongly to him. With Peggy Ashcroft, Tony Britton, Bessie Love, Vivian Pickles and in his film debut, a 12 year old Daniel Day Lewis.

Keep Your Powder Dry (1945)

Set during WWII, three young women join the Women's Army Corp (WAC) for different reasons: a Manhattan socialite (Lana Turner) can't claim her inheritance until she shows responsibility, an army brat (Laraine Day) wants to continue the family tradition and a housewife (Susan Peters) joins after her husband (Michael Kirby) is deployed overseas. Directed by Edward Buzzell (BEST FOOT FORWARD), this movie could serve as a recruiting poster for the WACs. It was sort of the PRIVATE BENJAMN of its day though the film takes women in the military more seriously than the popular Goldie Hawn comedy. The emphasis is on the antagonistic relationship between Turner's society girl and Day's career officer but the movie balances the pros and cons of each woman and their ability to realize their individual flaws and learn from their mistakes. The film was a big hit for MGM and remains a minor entertainment. With Agnes Moorehead, June Lockhart, Natalie Schafer, Lee Patrick, Jess Barker and Elizabeth Russell.

A Case Study Of Two Savages (1962)

Traveling from Arkansas to New York, a hillbilly (Rip Torn) and his underage bride (Tuesday Weld) go on a crime spree. Upon their arrival in New York, he shoots a cop (Harry Bellaver). Written by Frank Pierson (DOG DAY AFTERNOON) and directed by William A. Graham (CHANGE OF HABIT). Originally shot for the TV series THE NAKED CITY, the program is interesting because of the performances of Torn and Weld. The rest of the plot is routine police procedural. But Torn is easily believable as a psychotic killer on a rampage while Weld brings an unsettling quality to her amoral movie magazine reading Lolita out for thrills. Weld had already established herself in movies by this time but most of her movie roles weren't very interesting and she often had to turn to TV (LEGEND OF LYLAH CLARE, guest shots on ROUTE 66, BEN CASEY etc.) for better parts. With Paul Burke, Horace McMahon, Nancy Malone and Audra Lindley.

Barabbas (1961)

Set in Jerusalem, a condemned thief and brigand named Barabbas (Anthony Quinn) is given his freedom by Pontius Pilate (Arthur Kennedy) in a Passover custom. The condemned man to die in his place is Jesus Christ. For the remainder of his life, he seeks to understand this Christian faith. Based on the acclaimed novel by Par Lagerkvist (previously filmed in 1953 in Sweden) and directed by Richard Fleischer (VIOLENT SATURDAY). Lagerkvist's novel is almost existential in Barabbas' quest to understand this faith in an unseen God without which he is unable to accept the concept of life after death. While elements of Lagerkvist's book remain in the movie, it seems clear that the film makers wanted to make a movie epic along the lines of SPARTACUS and BEN HUR. Unfortunately, in execution it seems closer to peplum (those Steve Reeves gladiator movies) than a genuine film epic. Still, one has to admire an attempt to add a complexity to the usually mindless biblical epic. The excellent score is by Mario Nascimbene. With Jack Palance, Ernest Borgnine, Silvana Mangano, Vittorio Gassman, Katy Jurado, Valentina Cortese, Harry Andrews and Norman Wooland. 

Attack Of The 50 Foot Woman (1958)

Recently released from a mental institution, a wealthy woman (Allison Hayes) discovers her husband (William Hudson) has taken a mistress (Yvette Vickers) while she was away. But when an encounter with an outer space alien zaps her metabolism into overdrive ..... hell hath no fury like a woman scorned. Directed by Nathan Juran (7TH VOYAGE OF SINBAD), who is billed here as Nathan Hertz. This cult science fiction flick was part of a trend of 1950s sci-fi to enlarge (THE AMAZING COLOSSAL MAN) or shrink (THE INCREDIBLE SHRINKING MAN) humans but this one opted to place the emphasis on a woman. It's rather silly and the special effects aren't good by today's standards ... well, they weren't good by 1958 standards either. But for those of us who first encountered this movie as adolescents whether in a theatre or on TV, it remains a nostalgic favorite. The most notable thing about the film is Jacques Marquette's often stylish cinematography. The visit to the interior of the spaceship is smartly done and there's a dreamlike quality to Hayes' walk through the night. The alien (Michael Ross) looks eerily like Dwight Eisenhower, who was the U.S. President at the time. Coincidence? Remade in 1993. With Ken Terrell and Frank Chase. 

Wide Sargasso Sea (1993)

Set in Jamaica, a family on the verge of losing their estate promises their niece (Karina Lombard) in a pre-arranged marriage to an Englishman, Edward Rochester (Nathaniel Parker). The marriage begins promisingly but soon suspicion, adultery, betrayal, revenge and voodoo destroys their happiness. Based on the novel by Jean Rhys and directed by John Duigan (FLIRTING). If the name of Edward Rochester rings a bell, he's the "hero" of Charlotte Bronte's novel JANE EYRE. Rhys' novel is a prequel and gives a sympathetic backstory to Rochester's mysterious "mad" wife locked away in the Bronte classic. While the movie doesn't do Rhys' novel full justice (the director and the producer were at odds over which direction the film should take), it remains a sensitive and poignant look at the impact that colonialism and racism has on a post emancipation society. It also has a feminist bent as when the monied wife loses her inheritance to her husband when they marry which robs her of her independence. An evocative score by Stewart Copeland (WALL STREET) aids the film considerably. With Naomi Watts, Michael York, Rachel Ward, Martine Beswick, Rowena King and in the film's best performance, Claudia Robinson as Lombard's old nurse.

Forever And A Day (1943)

Set during WWII, an American (Kent Smith) arrives in England in order to retrieve a portrait in his ancestral home and discuss selling the home with a young woman (Ruth Warrick) intent on buying it. Why she wants the old house perplexes the American and she gives him a history of the 140 year old house and the generations that lived in it. Conceived as a tribute to England, a multitude of British actors, directors and writers donated their talent with no numeration to benefit British war charities. The omnibus film contains several stories, some serious and some comedic. Due to the episodic nature of the film, the actors don't really have the time to develop much of a character. As cinema, it's not very good but a movie like this is (almost) beyond criticism. The point of the film is the intention and on that level it succeeds. Among the directors involved: Rene Clair, Victor Saville and Edmund Goulding. The massive cast includes: Ray Milland, Charles Laughton, Ida Lupino, Merle Oberon, Robert Cummings, Claude Rains, Buster Keaton, Victor McLaglen, Herbert Marshall, Gladys Cooper, Brian Aherne, Anna Neagle, Edmund Gwenn, Elsa Lanchester, Dame May Whitty, Roland Young, Jessie Matthews, Cedric Hardwicke, Patric Knowles, Una O'Connor, June Duprez, Wendy Barrie, Anna Lee, Ian Hunter, Isobel Elsom and Edward Everett Horton. 

Bordertown (1935)

After a young but inexperienced Mexican lawyer (Paul Muni) finds himself disbarred in California, he moves south of the border where he rises to the co-owner of a posh casino. But two women in his life, the predatory wife (Bette Davis) of his partner (Eugene Pallette) and a wealthy debutante (Margaret Lindsay) looking for thrills bring about his downfall. Based on the novel by Carroll Graham and directed by Archie Mayo (THE PETRIFIED FOREST). Typical of 1930s Warners gritty and socially conscious output, the movie looks at how class divide and racism play into the fate of Muni's ambitious Mexican American. The film should have ended with the stark Muni and Lindsay confrontation (he's fine for kicks but his race makes himself undesirable as a husband) but instead, we're treated to a sappy redemption conclusion. Muni was an exciting actor early in his movie career with movies like SCARFACE, I AM A FUGITIVE FROM A CHAIN GANG and this one but he became unappealing when he got into his hammy great actor phase with movies like STORY OF LOUIS PASTEUR and LIFE OF EMILE ZOLA. Davis is the scene stealer here as she spouts fire and fury but it would take a couple of years before Warners realized what they had on their hands. Very loosely remade as THEY DRIVE BY NIGHT in 1940. With Gavin Gordon, Arthur Treacher and Robert Barrat.

After Yang (2021)

When his young daughter's (Malea Emma Tjandrawidjaja) android brother (Justin H. Min) malfunctions, her father (Colin Farrell) searches for a way to repair him. In the process, he discovers what he has been missing in his life. Based on the short story SAYING GOODBYE TO YANG by Alexander Weinstein and directed by video essayist Kogonada in his second feature film. Set in a futuristic society, Kogonada's film examines the inability to connect in a technological civilization. It's the kind of movie where while I admired its intentions and its complex and often existential questioning, I wished I liked it more than I did. There are some incredibly moving moments in the movie but overall, Kogonada's forlorn pacing (there were times I thought the picture had frozen on the copy I was watching) makes the film seem much longer than its 90 minutes. The morose score by Aska Matsumiya and Ryuichi Sakamoto only adds to the lugubriousness of it all. Still, it's a creative piece of cinema and the acting is good. It's a film I definitely want to see again and perhaps glean more insights. With Jodie Turner Smith, Haley Lu Richardson and Sarita Choudhury.